To explain consciousness as a physical process we must acknowledge the role energy plays in the brain. Energetic activity is fundamental to all physical processes and causally drives biological behaviour. Recent neuroscientific evidence can be interpreted in a way that suggests consciousness is a product of the organization of energetic activity in the brain. The nature of energy itself, though, remains largely mysterious, and we do not fully understand how it contributes to brain function or consciousness. According to the prin-ciple (...) outlined here, energy, along with forces and work, can be described in terms of actu-alized differences of motion and tension. By observing physical systems, we can infer there is something it is like to undergo states of actualized difference from the intrinsic perspective of the system. Consciousness occurs because there is something it is like, in-trinsically, to undergo a certain organization of actualized differences in the brain. (shrink)

In this paper I argue that when we try to describe the specifically self-aware part of the mind, as opposed to the host of unconscious psychic activities, we face a potentially fatal difficulty - one I have termed ‘the inconceivability problem’. Because of the entanglement of the subject and the object in observations of subjectivity, and certain conceptual circularities, it seems we might never be able to represent the self-conscious mind with anything other than itself. This could leave consciousness studies (...) in a very awkward position. In an attempt to address this I propose that the concept of infinite regression, which is normally associated with the ‘homuncular fallacy’, be reinterpreted productively, in a way that puts self-reference at the heart of our conception of phenomenal experience. Looking at several examples of self-referential systems and theories of mind, including Zen, it seems one system in particular - video feedback - offers a rich source of analogies that might help us to visualize, if not explain, the operation of ‘world-embedded’ self-consciousness. I explain that this inquiry is an attempt to build a theoretical foundation for the construction of a ‘conscious art’, by which I mean a type of art that is, to some extent, aware of itself and its surroundings. (shrink)

Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. (...) For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space. (shrink)

It would seem reasonable to expect any comprehensive account of consciousness to accommodate two of its most fundamental attributes: that we have a self- centred sense of experience and that this sense is somehow linked to the condition of our physiology. Yet those conversant with post-Cartesian philosophy will know that time and again significant doubts have been raised about any apparently obvious link between mind and body. So of all the questions implicated in the scientific study of consciousness perhaps the (...) most pressing is to what extent, if at all, does our mental life correlate with biochemical activity at the neuronal level? Until this is resolved we will be unable to reconcile the data gathered from phenomenological analysis of introspective experience with that derived from neuroscientific analysis of brain behaviour. The infamous gap will persist. (shrink)

Takahiko iimura Seeing/Hearing/Speaking ISBN 4-901181-06-8, $200, Multimedia DVD distributed by Heure Exquise! (E-mail: [email protected]).

Many recent developments in technological design are aimed towards the ‘humanisation’ of technology, that is, making technology behave in a way that is more ‘intuitive’, ‘friendly’ or ‘usable’. This assumes, however, that technology is not in itself human but rather some external antagonistic force or object. Contrary to this, I will defend the suggestion that technology is part of what constitutes humanity as a whole, to the extent of embodying some degree of cognition and consciousness. Looking briefly at some proposed (...) mechanical models of self-consciousness, I consider the question: What functions might self-conscious systems perform? (shrink)

Throughout much of the modern period, the human mind has been regarded as a property of the brain and therefore something confined to the inside of the head—a view commonly known as ‘internalism’. But recent works in cognitive science, philosophy, and anthropology, as well as certain trends in the development of technology, suggest an emerging view of the mind as a process not confined to the brain but spread through the body and world—an outlook covered by a family of views (...) labelled ‘externalism’. In this paper, we will suggest there is now sufficient momentum in favour of externalism of various kinds to mark a historical shift in the way the mind is understood. We dub this emerging externalist tendency the ‘New Mind’. Key properties of the New Mind will be summarised and some of its implications considered in areas such as art and culture, technology, and the science of consciousness. (shrink)